


"Sherlock Holmes Literally Dies"

by shannywan



Series: Control: London's Human Sacrifice [2]
Category: Sherlock (TV)
Language: English
Status: Completed
Published: 2014-02-16
Updated: 2014-02-16
Packaged: 2018-01-12 15:09:06
Rating: Teen And Up Audiences
Warnings: Creator Chose Not To Use Archive Warnings, Graphic Depictions Of Violence
Chapters: 1
Words: 1,985
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/1189734
Author URL: https://archiveofourown.org/users/shannywan/pseuds/shannywan
Summary: <blockquote class="userstuff">
              <p>Sequel/Part Two to "Sherlock Holmes Goes Shopping". </p><p>Title taken from "M.a.a.d City" by Kendrick Lamar. The entire album is fantastic and can be awesomely interpreted Sherlock-style in the best way. Is also an utterly amazing album on its own, of course.</p>
            </blockquote>





	"Sherlock Holmes Literally Dies"

CUT—221B—DAY.

ESTABLISHING SHOT.

CUT:221B—DOOR.

SHERLOCK has just closed the door. He thinks for a moment, then decides to leave the door open a crack.

SHERLOCK  
Deduce that.

 

CUT:221B—EXT.

The TOWNCAR has just pulled away.

CUT:DOOR.

SHERLOCK has just opened the door a crack.

As the scene is transitioning (see: CUT):

SHERLOCK (V.0.)  
Deduce that.

CUT:221B-EXT.

The FANGIRLS are still sitting outside 221B. This is a few minutes after the towncar has pulled away. 

PENNY is kind of stunned. Her friends comfort her, but they really want to know how it felt to kiss Sherlock fucking Holmes.

PENNY  
(quietly)  
Oh my god, oh my god, oh my god

CUT: 221B—DOOR.

The last second of SHERLOCK opening the door just a tad.

SHERLOCK  
Deduce that. 

Tension in the music increases slightly as…

CUT: 221B—EXT.

Another CAR pulls up to the curb. Two men in suits step out of the car, the DRIVER does not. The FANGIRLS initially are unaware of this new prescense. Eventually, though, they look up.

The tension in the music increases as:

SHERLOCK (V.O.)  
Deduce that.

The sound of the door clicking.

MAN 1 steps closer. An air of sharpened skill and menace. There’s a lapel on his jacket, but we can’t see it clearly.

SHERLOCK (V.O.)  
Deduce that.

FANGIRL 1 looks up, nervously. Shot of her face.

SHERLOCK (V.O.)  
Deduce that.

Back to a wider shot.

FANGIRL 1  
(somewhat nervously)  
Can I help you?

PENNY  
(silently, in the background)  
Oh my god oh my god.

To MAN 1:

MAN 1  
Maybe. Have you seen Sherlock Holmes recently?

PENNY  
Oh my god

FANGIRL 1  
Yeah, he just left.

MAN 1  
Good.

SHERLOCK (V.O.)  
(clear and audible)  
Deduce that.

Swiftly and with much practiced ease, the two serious MEN grab the three FANGIRLS and sedate them with injected drugs. 

PENNY  
Oh, my god.

The CAR DOORS open, the FANGIRLS quickly swooped inside, all unconscious.

The two MEN get inside the car, the DRIVER pulls away from the curb. No witnesses.

Camera stays focused on the curb where a mysterious, black towncar once lay. Cut to black.

FROM THE BLACK:

Camera facing MOLLY, as she pulls a teddy bear from what we clearly figure is a shelf.

CUT to a wider shot. We can see that MOLLY is with TOM. They’re in a TOY STORE.

SHERLOCK is elsewhere. 

Smiling and holding up the bear, MOLLY says:

MOLLY  
Do you think he’ll like it?

TOM  
It’s perfect.

MOLLY  
Really?

TOM  
Yeah. Add a set of beakers, put some glasses on him; it’ll be great.

MOLLY grins. She’s very happy. She and TOM go off to find said supplies. Meanwhile…

CUT: MALL—INT.OF STORE.

SHERLOCK is observing some obscure, thin objects. To us, they’re blurry. SHERLOCK is fascinated. A CLERK stands behind him.

SHERLOCK  
So, these are the best you’ve got.

CLERK  
Just in from Serbia.

SHERLOCK starts.

SHERLOCK  
Who what where now?

CLERK  
(slightly taken aback)  
Did I say Serbia? Sorry. I meant Sydney.

SHERLOCK  
(relaxing)  
Ah. In that case, I’ll take two.

Camera CUTS back. We can see that SHERLOCK is in a MUSIC STORE. He’s looking at violin strings.

He holds his new purchases with the grace and delicacy one would hold a baby bird. It’s incredible, because Sherlock would likely want to dissect a baby bird. Or raise it to send post or assassinate. 

As he’s walking to the checkout, something catches his eye. He shakes his head. Tries to walk by. 

Camera stays on the spot where he once was. Soon, he smoothly walks to the thing he’s so keen on.  
CUT: MALL-MAIN LOBBY.

MOLLY and TOM are looking for SHERLOCK. They’re standing off to the side of the main atrium/lobby.

TOM  
(pointing, trying to be smart)  
Maybe he went home. See? There are footprints here…

MOLLY  
Along with every other person in London. (pauses, thinking) No, he probably stayed. I can’t imagine him being self-sufficient enough to actually walk home. Or to a bus station. No, he’s…(the realization hits her) music!

MOLLY leads TOM off to the directory. They find the music store on the map, and head in the proper direction.

Along the way, though, they spot a rather large crowd. Yelling and shouting come from it.

MOLLY and TOM glance at each other.

MOLLY  
You don’t think…

TOM  
The odds that what appears to be and probably is a fight would break out exactly when Sherlock Holmes arrives?

MOLLY  
Right, it’s him. 

They rush over to the crowd. Drawing nearer, the shouts and curses increase. People are taking bets. 

MAN IN CROWD  
Yeah, kick that guy’s ass!

 

MOLLY  
(worried)  
Crap it really is him.

They break through to see SHERLOCK challenging a RATHER TALL AND LARGE MAN. He is, amazingly, not dead.

He glances over and finds Molly and Tom. His eyes light up.

SHERLOCK  
I thought you’d never get here! What took you so long?

He narrowly misses a forceful punch. His focus returns to the fight, which he ends abruptly with a series of quick punches and jabs.

He quickly handcuffs the MAN. Stands him up, walks over to MOLLY and TOM. It’s as if he’s offering a gift to them.

SHERLOCK  
(pleased)  
Where’s Lestrade? He’s normally here for these kinds of things.

MOLLY  
(to TOM)  
Call him, would you?

She gives him the number, then directs her attention to SHERLOCK.

MOLLY  
Could we, for once, have a normal experience? For Mary. For John.

SHERLOCK waves his hand, nonchalant.

SHERLOCK  
Boring. They like adventure, anyways.

SHERLOCK walks off, presumably to the mall entrance. MOLLY stands behind for a moment, puzzled. Since when has Sherlock thought of his cases as adventures?  
Ignoring this for the moment, she and TOM (having finished calling LESTRADE) hurry after SHERLOCK.

TOM  
Where are we going, exactly?

SHERLOCK  
Uh, I hate plebians. (beat) (exasperated) We’re going to the mall entrance, where Lestrade will hopefully be waiting; and my brother will hopefully not.

They approach the entrance. Police cars are already arriving. TOM looks nervous; SHERLOCK, apprehensive. 

TOM  
Are there usually this many police cars for this kind of thing?

SHERLOCK pauses. Tension increases. What else has gone wrong?

SHERLOCK  
No.

They rush towards the entrance. SHERLOCK is carrying the CRIMINAL as if he’s a sack of flour.

They approach the entrance. A helicopter is waiting. The trio look up at it, eyes hurting slightly from the sun.

SHERLOCK  
(shouting)  
Dammit, Mycroft!

CLOSE-UP to the PILOT. Who is MYCROFT.

MYCROFT waves, happily. He begins to land the helicopter.

At this moment, MARY and JOHN arrive. 

JOHN  
You never told me Mycroft can drive a helicopter.

SHERLOCK  
(looking, annoyed, at JOHN)  
He can’t.

JOHN registers what this means as the helicopter lands. SHERLOCK walks over to it, the rest follow. 

MYCROFT exits the helicopter.

MYCROFT  
It was so nice of Tom to finally give me a reason for coming.

SHERLOCK  
What, you couldn’t have just driven a helicopter—nice job, by the way—with a random, not easily documented, reason?

MYCROFT  
I do have to have a semblance of logic to my actions, Sherlock. Unlike you. (he gestures to the CRIMINAL) Who’s this? One of your friends?

He smiles, knowing he’s hit a sore spot. He’s referencing SHERLOCK’s less-than-legal-and-moral drug-using past.

SHERLOCK  
No, actually. I tend to run around with terrorists, now.

JOHN  
(to MARY)  
That wasn’t as witty as usual.

MARY  
(to JOHN)  
No, not at all.

 

SHERLOCK  
(cont.)  
He’s a case.

CRIMINAL  
Oh, thanks.

SHERLOCK  
(to CRIMINAL)  
Oh, you know what I mean. (to MYCROFT) I was tracking him to this mall. 

MYCROFT  
(incredibly convinced)  
Mmm-hmm.

SHERLOCK  
And it just so happened that Mary and Co.—

TOM  
(quietly)  
Ouch.

SHERLOCK  
(cont.)  
\--wanted to tag along. Isn’t that right?

SHERLOCK gives them a look that says he will dismember them all if they don’t agree.

TOM, MARY, JOHN, and MOLLY nod quickly.

MARY  
(somewhat falsely)  
Oh, yes. Sherlock and his cases—(to CRIMINAL)sorry—are just so fascinating.

SHERLOCK turns back to face MYCROFT.

SHERLOCK  
(to MYCROFT)  
See?

MYCROFT  
(unconvinced)  
I do.

At that moment, police cars arrive. LESTRADE steps out of one.

SHERLOCK claps his hands together. CRIMINAL drops to the ground with a thump. JOHN moves in to help him up—he is a doctor, after all, even to criminals.

SHERLOCK  
(as if greeting an old friend)  
Lestrade!

LESTRADE approaches. Gives one look at SHERLOCK. Then at MYCROFT. Back to SHERLOCK.

LESTRADE  
Okay, who died?

SHERLOCK  
(quickly)  
No-one! 

He realizes how this sounds. The GROUP looks at him curiously. SHERLOCK fiddles with his fingers. MYCROFT gives him a Look, but says nothing.

(Later we find out that SHERLOCK has been using again. Use as possible end of episode.)

LESTRADE  
Right. Let’s just get back to the Yard, shall we?

CUT: 221B. NIGHT. ESTABLISHING SHOT.

CUT: 221B. INT.

SHERLOCK is pacing about his room. 

CUT—he’s in different place. 

CUT—he’s leaning in his chair. 

CUT—he’s in the kitchen, with the kettle whistling.  
CUT—he’s sitting on the couch, mug in hand, TV on. 

We see SHERLOCK’s face. He looks vacant, an empty house. The camera slowly moves forward. We begin to hear Sherlock’s thoughts…

SHERLOCK (V.O.)  
So bored. How many do I have left? Enough, 2.98765 milligrams. Please, that’ll hardly last two hours. You don’t know that. I do, actually. You intake .564 milligrams every fifteen minutes, an outrageous rate. You’ll go through your much-loved illicit substances in one hour. 

The camera is at SHERLOCK’s eye now.

CUT: MIND PALACE.

SHERLOCK is lying on a white ground. White surrounds him, as if he’s in an Apple store. He looks just as vacant as before, if not more. 

Camera is on overhead view. We see MYCROFT walk in, umbrella and all.

MYCROFT  
Goddammit, Sherlock. You’re too high to even enjoy it, at this point.

SHERLOCK  
Shut up, Mycroft. I’m trying to enjoy myself.

MYCROFT  
Would you enjoy a stroke?

He presses the tip of his umbrella on SHERLOCK’s chest, directly over his heart. SHERLOCK takes a vague interest.

 

MYCROFT  
One move, Sherlock. I press a little harder. A vein explodes. Oxygen doesn’t reach your much-vaunted brain in time. You die in less than five minutes.

He presses. A fraction of a centimeter.

SHERLOCK  
(suddenly aware)  
No…

MYCROFT  
What? You want to die with John?

Cut back; we see CHILD SHERLOCK, cross-legged opposite MYCROFT, some ways off.

CHILD SHERLOCK  
No! I don’t wanna die! You’ll have to bury me alive!

He runs over to MYCROFT, and starts pounding his little fists against his big brother’s chest (which he can only just reach). MYCROFT barely reacts.

Meanwhile, something flashes in SHERLOCK’s eyes. Panic?

CHILD SHERLOCK is gone, but we can (can we?) hear cries, somewhere far off. 

CUT! MYCROFT has returned to pressing his umbrella against SHERLOCK’s sternum. SHERLOCK visibly looks panicked. 

MYCROFT smiles, almost.

MYCROFT  
You’re so pathetic.

The umbrella goes through SHERLOCK’s chest with terrible speed and noise. Blood bursts out, bubbling out SHERLOCK’s mouth. He starts to choke.

 

MYCROFT  
This isn’t even a case.

SHERLOCK  
M-m-agnussssso—

MYCROFT  
\--isn’t even here. No-one’s watching you ruin your recently-returned life. 

He pulls, quickly, the umbrella out. Strange, since Mycroft isn’t prone to movement.

SHERLOCK gags more on his blood, fingers trembling and flailing. Minutes pass like this. MYCROFT watches, not bothering to clean his umbrella. 

Quick shot—from a corner, we see a fine-suited man, see a flash of dark hair.

Back to the scene at hand. SHERLOCK is caked in blood. 

CUT: 221B. INT.

SHERLOCK is on the couch. Completely passed out, unconscious. The TV has been turned off, the remote knocked to the floor. 

CUT: WHITE ROOM.

MYCROFT is walking away, slowly. SHERLOCK dies on the floor.

We see MYCROFT’s face. He’s about to say something…

MORIARTY (O.S.)  
Later, Sherlock…

CUT: 221B. INT.

SHERLOCK’s fingers twitch slightly. Then stop.

CUT to BLACK.

**Author's Note:**

> See, literally was used literally in the title. 
> 
> Highly Suggested Songs I Was Influenced By While Writing:  
> \- Gravity soundtrack  
> \- Yeezus, Kanye West. Particularly, "On Sight", "Send It Up", and "I'm In It." If you can get past the crude lyrics, if you're not into rap; the songs really set the tone for what I'm trying to impart.  
> \- "What If We Could?", "Pinned and Mounted", from the Girl with the Dragon Tattoo soundtrack. That entire album is one big ball of awesome creepiness.


End file.
